17oct12 LPO programme book

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Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 17 October 2012 | 7.30pm

VASSILY SINAISKY conductor piers lane piano

beethoven Overture, Leonore No. 3 (13’) carl vine Piano Concerto No. 2 (UK premiere)† (25’) Interval Shostakovich Symphony No. 10 in E minor (46’)

Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Pianist Piers Lane discusses the UK premiere of Carl Vine’s Piano Concerto No. 2.

* Supported by the Tsukanov Family and one anonymous donor † Commissioned by the Sydney Symphony Orchestra with the generous support of Geoff and Vicki Ainsworth, and by the London Philharmonic Orchestra with the support of Garf and Gill Collins CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

PROGRAMME £3 CONTENTS 2 Welcome 3 About the Orchestra 4 Tonight’s performers 5 Vassily Sinaisky 6 Piers Lane 7 Programme notes 10 Orchestra news 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.


Welcome

WELCOME TO SOUTHBANK CENTRE We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk

We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

next LPO concerts at royal festival hall Saturday 20 October 2012 | 7.30pm Mendelssohn Overture, Ruy Blas Schumann Cello Concerto Beethoven Symphony No. 7 Kurt Masur conductor Alban Gerhardt cello Wednesday 24 October 2012 | 7.30pm Mozart Violin Concerto No. 5 Bruckner Symphony No. 7 Stanisław Skrowaczewski conductor Hilary Hahn violin

Booking details London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk (no transaction fee) Southbank Centre Ticket Office (transaction fees apply) 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

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Friday 26 October 2012 | 7.30pm JTI Friday Series Brahms Piano Concerto No. 1 Bruckner (arr. Skrowaczewski) Adagio from String Quintet in F Shostakovich Symphony No. 1 Stanisław Skrowaczewski conductor Garrick Ohlsson piano


LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Dvořák’s Stabat Mater under Neeme Järvi; Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Sibelius’s Symphonies Nos. 5 & 6 under the late Paavo Berglund; and the world premiere of Ravi Shankar’s First Symphony conducted by David Murphy. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

The Orchestra is Resident Orchestra at the Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951, giving around 40 The London Philharmonic Orchestra maintains an concerts there each season. 2012/13 highlights include energetic programme of activities for young people and three concerts with Vladimir Jurowski based around local communities. Highlights include the Deutsche the theme of War and Peace in collaboration with the Bank BrightSparks Russian National Orchestra; Kurt schools’ concerts; the Weill’s The Threepenny Opera, ‘As things stand now, the LPO must rate Leverhulme Young also conducted by Jurowski; as an example to all orchestras.’ Composers project; 20th-century American works Musicalcriticism.com, July 2011 and the Foyle Future with Marin Alsop; Haydn and (BBC Proms 2011: Liszt, Bartók and Kodály) Firsts orchestral Strauss with Yannick Nézettraining programme Séguin; and the UK premiere of for outstanding young players. Over recent years, Carl Vine’s Second Piano Concerto with pianist Piers developments in technology and social networks have Lane under Vassily Sinaisky. Throughout 2013 the enabled the Orchestra to reach even more people Orchestra will collaborate with the Southbank Centre worldwide: all its recordings are available to download on The Rest Is Noise festival, based on Alex Ross’s book from iTunes and, as well as a YouTube channel, news of the same name and charting the 20th century’s key blog, iPhone app and regular podcasts, the Orchestra musical works. has a lively presence on Facebook and Twitter. The Orchestra has flourishing residencies in Brighton Find out more and get involved! and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency lpo.org.uk accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra facebook.com/londonphilharmonicorchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. twitter.com/LPOrchestra Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

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tonight’s performers

First Violins Lisa Schatzman Guest Leader Ilyoung Chae Ji-Hyun Lee Catherine Craig Thomas Eisner Tina Gruenberg Martin Höhmann Chair supported by Moya Greene

Geoffrey Lynn Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Benjamin Roskams Galina Tanney Peter Nall Dafydd Williams Second Violins Fredrik Paulsson Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Dean Williamson Sioni Williams Alison Strange Peter Graham Stephen Stewart Sarah Buchan Steve Dinwoodie

Violas Fiona Winning Guest Principal Gregory Aronovich Katharine Leek Emmanuella ReiterBootiman Susanne Martens Benedetto Pollani Michelle Bruil Alistair Scahill Naomi Holt Isabel Pereira Martin Fenn Claudio Cavalletti

Flutes Sue Thomas Principal

Cellos Alexander Somov Guest Principal Susanne Beer Co-Principal Francis Bucknall Laura Donoghue Gregory Walmsley Santiago Carvalho† Susan Sutherley Susanna Riddell David Lale Helen Rathbone

Cor Anglais Sue Bohling Principal

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Jeremy Watt Lowri Morgan

Chair supported by the Sharp Family

Joanna Marsh Piccolos Stewart McIlwham* Principal Joanna Marsh Oboes Ian Hardwick Principal Angela Tennick Sue Bohling

Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Emily Meredith Paul Richards Bass Clarinet Paul Richards Principal E-flat Clarinet Emily Meredith Bassoons Gareth Newman* Principal Claire Webster Contra-bassoon Simon Estell Principal

Horns Mark Vines Principal Martin Hobbs Stephen Nicholls Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Jeremy Cornes Eddy Hackett Harp Rachel Masters* Principal * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: John & Angela Kessler Caroline, Jamie & Zander Sharp

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vassily sinaisky

© Marco Borggreve

conductor

Vassily Sinaisky’s international career was launched in 1973 when he won the Gold Medal at the prestigious Karajan Competition in Berlin. His early work with Kirill Kondrashin at the Moscow Philharmonic Orchestra and with Ilya Musin at the Leningrad Conservatoire provided him with an incomparable grounding. Soon after his success at the Karajan Competition, Sinaisky was appointed Chief Conductor of the Latvian National Symphony Orchestra, a post he held from 1976 to 1987. He then became Music Director and Principal Conductor of the Moscow Philharmonic Orchestra, leading numerous high-profile projects with the Orchestra both in Russia and on tour. In 2010, Sinaisky was announced as the new Chief Conductor and Music Director of the Bolshoi Theatre, Moscow. Highlights of the first seasons have included major new productions of Rimsky-Korsakov’s The Golden Cockerel by Kirill Serebrennikov, and Richard Strauss’s Der Rosenkavalier by Stephen Lawless (the first-ever staging of this work in Moscow). Sinaisky’s appointment coincided with the re-opening of the Bolshoi’s main stage following a five-year refurbishment, returning this legendary opera house to its position as one of the greatest in the world.

the BBC Proms. With the Malmö Symphony, Sinaisky has toured to the UK and to Amsterdam’s Concertgebouw, and recorded an acclaimed four-disc series of the symphonies of Franz Schmidt. Sinaisky has also held the positions of Principal Guest Conductor of the Netherlands Philharmonic Orchestra and Music Director of the Russian State Orchestra. Sinaisky has a distinguished pedigree as an operatic conductor. In addition to his projects at the Bolshoi Theatre, he recently conducted Iolanta and Francesca da Rimini in new productions by Stephen Lawless at Vienna’s Theater an der Wien. He also recently conducted Boris Godunov at San Francisco Opera. Other projects have included productions of Carmen and Der Rosenkavalier for English National Opera, and an acclaimed Lady Macbeth of Mtsensk with Hans Neuenfels at the Komische Oper Berlin. Vassily Sinaisky’s recordings include the aforementioned set of the symphonies of Franz Schmidt for Naxos with the Malmö Symphony Orchestra. His other recordings include many with the BBC Philharmonic of works by Shostakovich, Tchaikovsky, Rimsky-Korsakov, Shchedrin, Glinka, Liadov, Schreker and Szymanowski. Vassily Sinaisky is a noted and influential teacher, and holds the position of Professor of Conducting at the St Petersburg Conservatoire.

As a guest conductor, Sinaisky enjoys regular collaborations with such orchestras as the London Philharmonic, Los Angeles Philharmonic, Berlin Radio Symphony, Stuttgart Radio Symphony, Czech Philharmonic and Cleveland orchestras. Recent seasons have also seen him conduct the Royal Concertgebouw Orchestra, Gewandhausorchester Leipzig, NDR Sinfonieorchester Hamburg, Orchestre Philharmonique de Radio France and NHK Symphony, Tokyo. Sinaisky additionally holds the positions of Conductor Emeritus of the BBC Philharmonic, and Honorary Conductor of the Malmö Symphony Orchestra, Sweden. Memorable projects with the BBC Philharmonic have included the ‘Shostakovich and his Heroes’ festival, tours to Europe and China, and many appearances at London Philharmonic Orchestra | 5


piers lane piano

© Eric Richmond

London-based Australian pianist Piers Lane has a flourishing international career that has taken him to more than 40 countries. In summer 2012, as part of his extensive tour of Australia, Piers Lane joined Hugh Wolff and the Sydney Symphony Orchestra for the world premiere of Carl Vine’s Piano Concerto No. 2. He also performed Grieg’s Piano Concerto with the Melbourne Symphony Orchestra under Sir Andrew Davis, played concerts with the Goldner String Quartet, and gave solo recitals in Perth and Sydney. As well as tonight’s European premiere of Carl Vine’s Piano Concerto No. 2 with the London Philharmonic Orchestra, highlights of the 2012/13 season include Lane’s participation at the Sitka Summer Music Festival in Alaska, the El Paso Chamber Music Festival in Texas and the Storioni Festival in Holland; as well as a solo recital at Wigmore Hall and a collaboration with German tenor Markus Schäfer. Highlights of last season included a performance of the monumental Piano Concerto by Busoni at Carnegie Hall; John Ireland’s Piano Concerto with the La Verdi Orchestra in Milan; and an appearance at the London Philharmonic Orchestra’s Prokofiev Festival at Southbank Centre, curated by Vladimir Jurowski. Five-times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s wide-ranging concerto repertoire exceeds 80 works and has led to engagements with many of the world’s great orchestras including the BBC and ABC orchestras; the American, Bournemouth and Gothenburg symphony orchestras; the Australian Chamber Orchestra; the Orchestre National de France; the City of London Sinfonia; and the Royal Philharmonic, Royal Liverpool Philharmonic and Warsaw Philharmonic orchestras, among others. Leading conductors with whom he has worked include Andrey Boreyko, Sir Andrew Davis, Andrew Litton, Jerzy Maksymiuk, Marko Letonja, Vassily Sinaisky, Yan Pascal Tortelier and Antoni Wit.

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Festival appearances have included Aldeburgh, Bard, Bergen, Cheltenham, Como Autumn Music, Consonances, La Roque d’Anthéron, Newport, Prague Spring, Ruhr Klavierfestival, Schloss vor Husum, and the Chopin festivals in Warsaw, Duszniki-Zdrój, Mallorca and Paris. Piers Lane has been Artistic Director of the Australian Festival of Chamber Music since 2007. He is also Artistic Director of the annual Myra Hess Day at the National Gallery in London. From this sprang his collaboration with actress Patricia Routledge on a theatre piece devised by Nigel Hess, exploring Dame Myra’s work during the Second World War. This show, entitled Admission: One Shilling, has been performed throughout the UK at many festivals and theatres. Lane’s extensive discography includes, on the Hyperion label, much-admired recordings of rare Romantic piano concertos; the complete Preludes and Etudes by Scriabin; transcriptions of Bach and Strauss; complete collections of concert etudes by Saint-Saëns, Moscheles and Henselt; and transcriptions by Grainger. Recent releases include piano quintets by Bloch, Bridge, Dvořák, Harty and Elgar, all with the Goldner String Quartet; d’Albert’s transcriptions of Bach organ works; and a disc with clarinettist Michael Collins for Chandos. Piers Lane is in great demand as a collaborative artist. He continues his longstanding partnerships with violinist Tasmin Little, clarinettist Michael Collins, and the Goldner String Quartet. Tours in recent years have included performances with singers Cheryl Barker, Peter Coleman-Wright, Yvonne Kenny, Markus Schäfer and Anne Sofie von Otter; violist/composer Brett Dean; the Australian, Doric, Medici, New Zealand, Pražák and RTE Vanbrugh string quartets; and pianists Marc-André Hamelin, Hamish Milne, Kathryn Stott and Kathron Sturrock. Piers Lane has written and presented over 100 programmes for BBC Radio 3, including the popular 54-part series The Piano. In 1994, he was made an Honorary Member of the Royal Academy of Music, where he has been a Professor since 1989. In the Queen’s 2012 Birthday Honours he was awarded an AO (Officer in the General Division of the Order of Australia), for distinguished service to the arts as pianist, mentor and organiser.


PROGRAMME NOTES

Speedread One of the great symphonic masterpieces of the last century ends tonight’s concert, a work suffused with the powerful atmosphere of Soviet Russia in the aftermath of the Second World War and of the months following the death of Stalin in 1953. Shostakovich’s fellow composer Yuri Shaporin once said that the spiritual character of 20th-century Russian man cannot be understood without the Tenth Symphony any more than that of the 19th could without Dostoevsky, and it is this ability to summon a mighty extra-musical message, speaking strongly

Ludwig van Beethoven

without the need for verbal explanation, that puts Shostakovich in an exalted place in the symphonic tradition inherited from Beethoven and Mahler. Yet outside the realm of the symphony, Beethoven was also the unwitting instigator of a parallel tradition – that of the descriptive, semi-programmatic tone-poem, as the taut little drama of his Leonore Overture reveals. In between these works comes an energetic new piano concerto by Australian composer Carl Vine, a work premiered by tonight’s soloist in Sydney only just under two months ago.

Overture: Leonore No. 3

1770–1827

Beethoven composed only one opera, yet he revised it twice and wrote four different overtures for it. The first production of Fidelio, in Vienna in November 1805, ran to only three performances, and the following spring a shortened version, renamed Leonore, oder Der Triumph der ehelichen Liebe (‘Leonora, or The Triumph of Conjugal Love’) was performed just twice. It was not until 1814 that it next appeared, now in the form in which it has become familiar, with Fidelio restored as its title.

1806 revision Beethoven produced Leonore No. 3, which retained much of the material of the original but was more concise and formally directed. Subsequently he opted for a lighter vein in Leonore No. 1 and the eventual Fidelio overture, but the balance of forceful dramatic suggestion and structural clarity in No. 3 has left it as the most popular of the Leonore/Fidelio overtures in the concert hall. Of the four, it is the closest to being the ancestor of the 19th-century tone-poem.

The four versions of the overture are sufficiently different to suggest that Beethoven’s problem was less with musical quality than function. His original intention was to provide a programmatic prelude that would foreshadow the ensuing drama and its music in the manner of the overtures of post-Revolutionary French opera (Fidelio itself is based on a libretto first set to music in 1798 by Pierre Gaveaux). The overture to the 1805 version (known as Leonore No. 2) is grand and dramatic but architecturally loose, and for the

The story of the opera is based on a true incident from the French Revolution: Florestan, a political prisoner, is aided in his escape by his wife Leonore, who has courageously taken a job as a prison guard while disguised as a man named Fidelio. The sonata-form Overture suggests these events with powerful simplicity. A slow introduction shows us the dungeon, with Florestan’s presence indicated by a reference on clarinets and bassoons to his despairing aria from the beginning of Act 2. When the fast section arrives, it is with a

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PROGRAMME NOTES

leaping, heroic tune for Leonore, which then leads to a warmly romantic second theme derived from Florestan’s aria (heralded by two horn chords). The two themes are then developed in tandem before Beethoven imports a dramatic stroke directly from the opera: two off-stage

trumpet calls signalling imminent rescue. The Overture then hurriedly recapitulates both themes before ending in a joyous swirl.

Carl Vine

Piano Concerto No. 2

Born 1954

The idea to tackle a second piano concerto came from my friends, Geoff and Vicki Ainsworth, who turned out to be the principal commissioners of the work. The Sydney Symphony Orchestra generously offered a vehicle for the first performances, and agreed that Piers Lane would be the perfect soloist. The notion of composing music tailored to a specific performer implies that they have strengths to be celebrated and, conversely, weaknesses to be ameliorated. It is my distinct impression that Piers Lane is incredibly good at everything on the keyboard, so writing music for him brings a liberating sense of having unfettered reign over the instrument. Although this work has no explicit narrative or extramusical provenance, I have named its three movements to suggest their predominant characters: Rhapsody, Nocturne, and Cloudless Blue. The first two speak for themselves, although ‘nocturnal’ here includes some surprisingly energetic activity – if only glimpsed by moonlight. The third might be called ‘Diurnal’ to counterbalance the Nocturne, but this word has no historical precedent, while also failing to capture the sense of brilliant Australian summer that I wanted to summon in a presto finale. Carl Vine, April 2012

Lindsay Kemp

Piers Lane piano 1 Rhapsody 2 Nocturne 3 Cloudless Blue

Carl Vine first rose to prominence as a composer of music for classical dance, with more than 20 scores to his credit. He has since emerged as a major orchestral composer with seven symphonies and nine concertos heading the catalogue, and his piano music is performed frequently around the world. He has an impressive catalogue of chamber music, complemented by various work for film, television and theatre. Although primarily a composer of modern ‘art’ music, he has undertaken such diverse tasks as arranging the Australian National Anthem and writing music for the Closing Ceremony of the Olympic Games (Atlanta, 1996). In his role as Artistic Director of Musica Viva Australia, Carl is also Artistic Director of the Huntington Estate Music Festival, Australia’s most prestigious chamber music festival. Piano Concerto No 2 was composed for Piers Lane and commissioned by the Sydney Symphony Orchestra with the generous support of Geoff and Vicki Ainsworth, and by the London Philharmonic Orchestra with the support of Garf and Gill Collins. It was first performed by Piers Lane with the Sydney Symphony Orchestra conducted by Hugh Wolff at the Concert Hall of the Sydney Opera House on 22 August 2012.

INTERVAL – 20 minutes An announcement will be made five minutes before the end of the interval. 8 | London Philharmonic Orchestra


Dmitri Shostakovich 1906–75

Interpreting the ‘meaning’ of a Shostakovich symphony can be as hard today as it was for the Party officials whose job it was to determine the fitness of new works for public consumption in Stalin’s Russia. Shostakovich himself often left conflicting, perhaps deliberately obfuscatory accounts of what he meant to express. This isn’t surprisingly, in view of the two great savagings he received in the course of his career at the hands of the Soviet musical establishment, the first over his opera Lady Macbeth of Mtsensk in 1936, and the second a more general one in 1948 for not joining in the postwar victory celebrations with quite enough ideological zeal. (The wilfully frivolous character of the Ninth Symphony of 1945 can hardly have helped.) Shostakovich drew in his horns after that, keeping challenging works such as the First Violin Concerto private and showing his face in public mainly with film scores and patriotic cantatas. There is evidence that he had begun sketching ideas for the Tenth as early as 1946, but the death of Stalin in March 1953 seems to have been the spur for work to begin on it in earnest the following month. Stalin’s passing clearly brought a sense of optimism and release for the composer, but only up to a point. It must have been difficult to know which way things would turn even in this new era of ‘thaw’, and certainly when the Symphony was premiered in Leningrad in December 1953 the critics were not ready yet to give up their politically trimmed opinions – ‘ideological depravity … an erroneous solution to the basic problems of life’ was one typical example. So while Shostakovich has been quoted as saying in later life that the Tenth was ‘about Stalin and the Stalin years’ (following on from an earlier characterisation of the Soviet leader as ‘a frog puffing himself up to the size of an ox’), his ‘official’ description of it at the time claimed nothing more than that he ‘wished to convey human feelings and emotions’. Yet if that was an explanation that risked little, there is no

Symphony No. 10 in E minor 1 Moderato 2 Allegro 3 Allegretto 4 Andante – Allegro

such ingenuous caution in the music itself. The Tenth is one of the major symphonies of the 20th century, for its architectural assurance and masterful balance of contrast and cohesion, but also for its emotional strength and honesty. It may ultimately be a work that mixes hope and uncertainty in the face of a new era, but a work of equivocation it is not. The first movement is the longest by far, a magnificent sonata structure built on two principal themes – the brooding, long-limbed one heard at the outset on low strings, and the cautiously lilting melody announced by solo flute. The central development section begins with a subterranean return of the first theme on bassoons, and, with the help of martial percussion, drives to a massive climax. After this the music subsides to a clarinet-duo restatement of the second theme that is then taken up by the strings before progressing to a calm coda based on the material of the opening. In the book Testimony, Shostakovich described the second movement ‘a musical portrait of Stalin, roughly speaking’, and the image is a believable one. As brief as the first movement was long, it is a biting and terrifying scherzo that screeches brutality and violence, enclosing within it a grotesquely strutting central section. The third movement is the most distinctive and structurally original of the four. The scale of the first movement has not left room for another full-blown slow one, so Shostakovich writes a medium-paced, dance-like intermezzo in which a coyly playful opening theme interacts with two musical cryptograms, each with a direct personal significance. The first is a motif based on the notes D-E flat-C-B – in German nomenclature D-S-C-H, representing the composer himself as D SCHostakovich. It is a musical monogram that Shostakovich made frequent use of in his later

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PROGRAMME NOTES

works, and here it has a curiously oriental flavour whose apparent lightheartedness is undermined by the fact that it heralds a crawling reminiscence of the symphony’s opening bars. The other theme, repeatedly interposing itself enigmatically on the music’s progress, is a horn-call based on note-names (E-A-E-D-A) derived from the name of a young composer Elmira Nazirova, a young pianist, composer and former student who was the object of Shostakovich’s intense affections throughout the summer of 1953. The movement ends, however, with DSCH piped out in indecisive suspension. The Andante opening of the finale recalls the atmosphere of the start of the symphony, but after

unfolding wind solos have hinted at a Mahlerian reawakening, the music suddenly bursts into life. The mood now seems to have all the potential for a triumphant major-key ending, but there are constant hindrances to full release in the form of worrying reminiscences of the scherzo, further shadows and a few satirical grotesques. Following a fearful unison statement, the DSCH motto gathers in influence as the end approaches, finally being banged out frantically on timpani in the last pages. Is everything right with the world now? As so often with Shostakovich, the answer is not that simple. Lindsay Kemp

orchestra news Student Pulse: the new app for student concert-goers in London The London Philharmonic Orchestra and its student scheme, NOISE, have joined forces with nine other London orchestras and venues to launch an iPhone and Android app that pulls together each organisation’s student schemes onto one platform, offering discounted tickets and loyalty points to student bookers. Simply book tickets directly through the app on your phone, and receive your e-ticket on your phone to show on the door on the night. The app and the ticket discounts are available to full-time students at any UK university. To find out more about the scheme, its partners, and to download the app, visit studentpulselondon.co.uk

October CD releases on the LPO Label The London Philharmonic Orchestra launched its own record label in 2005 and there are now nearly 70 releases available on CD and to download from iTunes. This month sees two new releases: A third volume of orchestral works by Mark-Anthony Turnage with soloists Christian Tetzlaff, Lawrence Power and Michael Collins, featuring five world premiere recordings including Mambo, Blues and Tarantella (LPO-0066, £9.99). An audiobook of The Mozart Question by children’s author Michael Morpurgo, narrated by Michael himself with musical extracts performed by the London Philharmonic Orchestra under Nicholas Collon with violinist Jack Liebeck (LPO-0067, £9.99). Listen to soundclips and buy online at lpo.org.uk/shop

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors:

Guy & Utti Whittaker Manon Williams

David Ellen Commander Vincent Evans Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Ken Follett Pauline & Peter Halliday Michael & Christine Henry Mr Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Des & Maggie Whitelock Bill Yoe

Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough

Hon. Benefactor Elliott Bernerd

Thomas Beecham Group The Tsukanov Family Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Destination Québec – UK Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Education Partner Boeing Corporate Donor Lombard Street Research Preferred Partners Heineken Lindt & Sprüngli Ltd Villa Maria

In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Addleshaw Goddard Charitable Trust Angus Allnatt Charitable Foundation BBC Performing Arts Fund The Boltini Trust Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund The Equitable Charitable Trust The Eranda Foundation Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust The Leverhulme Trust

Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Austin & Hope Pilkington Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Steel Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous London Philharmonic Orchestra | 11


administration

Board of Directors

General Administration

Orchestra Personnel

Archives

Victoria Sharp Chairman Stewart McIlwham* President Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* Angela Kessler Gareth Newman* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Sir Philip Thomas Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams

Timothy Walker AM Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Philip Stuart Discographer

Sarah Thomas Librarian

Gillian Pole Recordings Archive

Michael Pattison Stage Manager

Professional Services

Finance David Burke General Manager and Finance Director

Julia Boon Assistant Orchestra Personnel Manager

* Player-Director

Advisory Council Jonathan Dawson Clive Marks OBE FCA Lord Sharman of Redlynch OBE Victoria Sharp Timothy Walker AM American Friends of the London Philharmonic Orchestra, Inc. Margot Astrachan Chairman David E. R. Dangoor Vice Chair/Treasurer Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan William A. Kerr Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Honorary Chairman Noel Kilkenny Honorary Director Victoria Sharp Honorary Director Richard Gee, Esq Of Counsel Robert Kuchner, CPA

Alison Atkinson Digital Projects Manager

Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors

Ken Graham Trucking David Greenslade Instrument Transportation FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Development Concert Management Roanna Gibson Concerts Director (maternity leave) Ruth Sansom Artistic Administrator / Acting Head of Concerts Department Graham Wood Concerts and Recordings Manager Barbara Palczynski Glyndebourne and Projects Administrator Jenny Chadwick Tours and Engagements Manager Alison Jones Concerts Co-ordinator Jo Orr PA to the Chief Executive / Concerts Assistant

Nick Jackman Development Director Helen Searl Corporate Relations Manager Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Laura Luckhurst Corporate Relations and Events Officer Sarah Fletcher Development and Finance Officer Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager

Matthew Freeman Recordings Consultant

Rachel Williams Publications Manager

Education & Community

Samantha Kendall Box Office Manager (Tel: 020 7840 4242)

Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer

12 | London Philharmonic Orchestra

Libby Northcote-Green Marketing Co-ordinator Claire Lampon Intern Albion Media Public Relations (Tel: 020 3077 4930)

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photograph of Beethoven courtesy of the Royal College of Music, London. Photograph of Carl Vine © Keith Douglas. Front cover photograph © Patrick Harrison. Printed by Cantate.